3 Cool Ways to Reveal Text | Adrienne D Martin | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 10m)
    • 1. Introduction

    • 2. Creating a Composition

    • 3. Check your spelling and choose fonts

    • 4. Designing your Layout Scene 01

    • 5. Designing your Layout Scene 02

    • 6. Designing your Layout Scene 03

    • 7. Masking using the Stroke Effect / Prepping your text

    • 8. Masking using the Stroke / Effect Animating our text 1

    • 9. Masking using the Track Matte

    • 10. Masking using the pen tool

    • 11. Putting it all together

    • 12. Exporting your final animation

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About This Class

If you have basic knowledge of the After Effects tools and layout but don't know where to start in combining techniques to create a finished animation, this class is for you!

You will learn 3 different ways to reveal text using masks. These are the simple, on-trend text animations you see in commercials everyday! Below are the 3 scenes that you will design and animate:




We will discuss:

  • What is a composition, overview of settings and how to nest compositions
  • Designing your layout
  • Using Illustrator to prep text for a smooth animation
  • Building masks, animating masks and combining with specific effects
  • Creating transitions between scenes by reusing the skills learned
  • Exporting your video so you can share it!

Meet Your Teacher

Teacher Profile Image

Adrienne D Martin

Motion Graphics Artist


With over 10 years of experience in professional motion graphics design and animation as well as video editing, I am happy to bring my experience to students here on SkillShare! From high-end fashion to online education to those fighting for religious freedom, I have had the joy of working with all kinds of clients in many different industries.

As different as their projects have been, they all have one thing in common: they need someone to help tell their story!

And guess what?! You can do it too.

My goal is to provide students with skills to start their own freelance motion graphics animation career because nothing is better than working with a dog on your lap!

See full profile

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1. Introduction: welcome to three cool ways to reveal text. In this video, Siri's you will learn three different ways to reveal text using masks. During this process, you'll see that there are many ways to go about creating a similar outcome. Instead of being overwhelmed by the many options and aftereffects, you will learn that although there is no right way to animate, these methods have advantages in different situations. At completion, you'll have learned how to build masks, animate masts and combined with specific effects to create commercial worthy text reveals. Here is your final animation project. You'll be animating one sentence using the three different text reveal styles I show you, and you can use the same techniques to create transitions between these scenes. So this class is geared toward students with a basic knowledge of aftereffects, tools and layout. But maybe you're a bit overwhelmed with all the options, and you don't have experience creating a finished animation. This video will help you put together all the ideas you may have learned in basic classes into a polished, fun finished animation. So let's get started 2. Creating a Composition: So first things first creating your composition. Now, this may sound simple, but you want to set it up correctly. It'll save you a lot of grief down the road. You want to make sure you're setting up your composition for what eventually will be your export settings. So go to composition can make a new composition. We're gonna call this scene one. Leave it as custom. But if you have a specific preset in mind, you can find that here, we'll leave it at 1920 by 10 80 just so if you lock your aspect ratio, you will keep it at 16 9 No matter if you pull this up or down so you can make a bigger smaller, but it'll keep it at 16 9 but we're gonna keep it at 9 20 But 10. 80 and I like to keep it locked. So keep it up square pixels unless your client tells you otherwise, um, and frame rate. This is really important here, so if you are going to be integrating with footage, you want to go to that footage and check it out. What is the frame rate? Is it 23.976 is a 29.97 Your graphics should match your footage. So if you were to choose 30 here but your footage was 23.976 Then the computer well dropped frames in your graphics to compensate and match it to your footage at export. And what can happen there is you get a very stuttering animation, not something smooth like you want. So what you want to do is from the start, make sure that your frames air matching that way after effects is interpreting between the key frames, making it smooth at 23.976 And you're not relying on the computer to drop frames for you later. You want to avoid that at all costs. So here we're not working with any footage at all. We're just doing a self contained animation, so we're going to keep it at 30 frames per second. So resolution, You can leave it, fool. Start your time code at zero. That's default. Here again, duration is an important thing to keep in mind. You are setting your duration for all your cops that you create in this project. Unless you go in open composition settings again and change that. So what can happen is, let's say for some reason, you put it at every seconds before. Well, now you don't have enough space for your new animation, and you have to go through. Um, let's say you set up all your stills now you're ready to enemy in. Oh, man, it's a three seconds. You have to go through all your compositions again and change it because you've duplicated a bunch of times, right? So you don't want to do that. Let's start it at, let's say, 15 seconds to give us enough time to animate. And then if we need to cut down, we can. It's just easier to go long instead of short for your background color. You can change just to whatever color it floats your boat. So this is important. If you're working with, let's say all your text is black or its white, so you want to go maybe with a great so everything shows up no matter what. Most of the time this doesn't matter, but it is available to change if you want, so that's where you change it. You can always come back into composition settings and change any of these things, including your background color. So you press OK? Now you have your very first composition. And if you look up here, you have not saved. So please save. And there you go. Congratulations. Let's move on. 3. Check your spelling and choose fonts: next, Roy to be designing your layout. So a little tip for you here. Open up a word. Document. Open up A no pad. Any text that you animate, I beg of you. Please write it in a word. Doc, Check the grammar. So our sentence today is creativity is in talent having so I just typed it in. Obviously, I have a misspelling right, And this is really important when you're in after effects and you're thinking about the motion. You're thinking about the color, your thinking about the tiny and you're thinking about all aspects of this design. Your brain will compensate and you won't be thinking about spelling on. I don't care if you're the spelling bee champ of off all the 10th graders in all the world spelling mistakes happen, and they could be really detrimental in the professional world. It could mean you going back and having to redo the animation on your dying. You don't want to do that, So take a few seconds. Open a word, Doc. And any text, any copy that's going into your animation, please write it in here first. Make sure it's spelled right. Makes your punctuation and your grammar makes sense. And if you can and you're working with clients, get all the copy approved before you even go to animation. That will save you a lot of grief and recline a lot of money. So we're going to take our first word creativity. We'll start there. So go get your text tool and typing creativity. I'm highlighting it. And over here in your character panel, you can bring that down now something I want to show you. If you watched the last video on composition on how to create a new composition rather, this button down here is total transparency grid. And that's the lovely gray that we picked before. Now, if you had picked White wouldn't be able see creativity. So that's why I picked Gray. In this case. You don't have to do that. I think default is black. I'm not sure, but you can toggle to transparency or you can toggle to a solid. Like I said, This great will will never render so we can get into that more when we're exporting. But for now, keep it simple. And I just wanted to show you this total transparency. Great. The first part of a texture of an animation is going to be the front. So here we want something that is kind of, uh, loose And what? Comitatus. Creativity without borders. This is a very block you text. I don't think that will work. So what I recommend to you ISS going to different dot com here, you can type in your word here. We have creativity. Um, and you could go to more options here. And I suggest, um, if you're using this in any way, that's not just for personal use. I always go with public domain if I'm grabbing something from defiant. Um, usually clients provide funds, but a lot of times you're suggesting funds. So we have public domain here, 100% free. They do also have the option of donating, which I Hedley recommend as well. So that's my plug for different dot com. Check it out 4. Designing your Layout Scene 01: So I spent some time looking for fun and really liked and landed on this one just in road. This font I will download and make available to you. So if you double click, it selects everything, and you can make this a smaller, as large as you want. I had a typography teacher when I went to school. And, um hey, had a lot of interesting things to say about type. One of the things that he said that stuck with stuff with me is experiment with going big and see how that feels. It's it. It can be really interesting as a design element. If you really push the boundaries of your frame here. So maybe that's what you want to do. Maybe you maybe you want it almost almost off the frame. Maybe you want it. Um, you know, if you hit are you could rotate this and really feel your canvas and especially this being the especially this being creativity. You can get really creative here, so that might be where you end up with your font. Now, one thing to keep in mind, we can just go crazy and have a lot of fun here and it would be something fun and abstract . And do my teacher really, really proud. But But can you read it? Can you tell what it ISS ledge ability is really, really important. You want to be able to read what you're writing in your text, right? So maybe you don't want to do that. Maybe you want to kind of keep it, keep it small so that the eye brings it in all in one moment and reads creativity. So that's what I'm choosing to do here. Now, keep in mind this gray doesn't really exist. Next thing is to pick a background color. So what you could do here is you can do layer new solid, and you can pick any color you want under the sun like a sunny yellow. Um so there I'm gonna pick kind of Ah, Yoki yellow. So here you may have been thinking Where where did my text go? So here, down here with your layers This isn't a hierarchy. So if yellow is if you're yellow, solid is on top, it literally is on top of your text. You just want to bring that down and and remember that thes layers are in the hierarchy from bottom to top. So this one is literally sitting on top of the yellow. Now that's what we want. We have a very basic text and solid background and you could stop right there and just say this is my first scene. I am super happy with it. I pulled in some images here just to show you some kind of different fun things you can dio . Maybe you want to press t and toggle down the the transparency you start giving some things some different texture so we could come back here and maybe, you know, maybe we want to do that. Maybe it's This is all part of your creative, your creativity, your creative design. You can do whatever you please here. So if you come down to toggle switches and modes, it will change this panel right here. Okay, So something I want guys to know about right away is this mode. If you use photo shop, you will know that you have blending modes. Okay, so you can start playing around with that solid and with your whatever picture you have and you can start making something really cool. Any color and any picture you have is going to interact differently. It's always a surprise, and it always pary fun. So there you go. Now we've taken it up a huge leap from plain yellow to something with texture and life. Um, I would suggest maybe pulling that down. Maybe you want to do that. Maybe you want to keep it right. It's completely up to you at this point, so we'll leave it there for now. It's a little glaring. Might come back, but right now, in my creative process, I'm feeling like there's something here I want to explore, but I want to move on to the other aspects to see how it all fits together. 5. Designing your Layout Scene 02: So now we're gonna move on to seem to So we have seen one here. We're going to create a new composition, and you can see all your settings are the same. We're gonna call this scene, too. And now we're starting over from scratch. Right, So here we go. We're gonna do this all over again. Go to your tech stock, grab the next portion of your sentence, type it in here. And this time I want to do a different text. So I chose this one from Defiant Grab it all. That's a to grab it all just double click. So then I'm going up to character, and I'm typing in this new fought here. Um, so there you go, his intelligence save. So I chose this fun here because first of all, the Sand Saref is a nice contrast, Teoh. Um, this really curly Q here. So it'll give a nice balance. It's strong, it's weighted. It's going to be really fun in the next scene. T change that, Teoh, you don't want to become too repetitious with your with your audience. So if you go down here and you click on and off rulers here, you can pull down a guide. What I really like is that it's really strong and square, right. And I do like that. This kind of just sticks out something different. Eso I'm gonna leave it as is for several reason. It just floats my boat, maybe doesn't feel yours, change it up, and we're going to do again, changing up the background so we'll do another solid. And I'm going to pick something along the lines off like a teal and And that yellow was pretty pretty bright. So I think I'm gonna go a little softer on this blue. I'm gonna put it underneath the tax. And then you see, there's not a lot of contrast between the white and this lighter color I picked. So maybe I want to make this black, um, and haven't really stick out with that and made me be Let's just be a little different here . Do we want it true? Black. Maybe you want to pull it up to something a little like unexpected, a little bit brown. Maybe that sometimes that makes it a little a little softer and a little more like on trend when you're blacks are not black So try something like that. See? See how it feels to you? You know, um, I think that that's nice. It's a little more. It's a little more on trend when it's not so so expectedly heavy. So let's see. Let's try another picture in here. Maybe something like and let's go. So we had switched our toggles, right? So we're here on under mode again, and I wanted Teoh screen to me. Last pretty. That's something different and legal safe. 6. Designing your Layout Scene 03: next we are making a new composition. Now, another thing you can do is if you have some text that you've already kind of placed. And you like where it was like unseen one. You can just hit control C or, you know, coffee it. Copy paste. So then you have seen three here, you open it And this match of seen one So they're seen one, and they're seeing three. So now what? You can dio iss having fun? No, you have Now you have that same font. It has all the same. It has the same tracking and letting all that. So, um, here, I think I'm gonna have having as that one font, right and fun as a different font. So I'm going here to having fun. I'm copying it and pasting it. Um and I want because I want to separate them. I want to separate these so that each one has its own layer. So you'll see in a second doing here. Okay, so now I have having and I have fun separated, and this is going to be really important for your animation process. Ah, lot of times I forget this this and I will design my whole layout and then have to go up and break up on my text. And I'd rather just do it from here. So I think I'm going to You really make this huge on this is just kind of what I'm feeling like this wants to hook into here. Maybe we So I'm going back into my scene too. I'm going to highlight this text is intelligence. I'm going to click on the fill color and right here I have my Pantone color identification number, and I just copied it and going back into seeing three, going over here to my fill on having opening that. And I am pasting it here and now It's the exact same color. Pretty for beat. Okay. Clicking are to rotate fun. And you tell me, Is that ledge a ble? No, I'm not really sure. I have to think about that a little bit more, but I like having the two fonts come together in a fun way and no pun intended. I think funds a little big, maybe. Okay. Saving again. And then let's look at these sequentially. So here I'm moving my tab over. I have creativity is intelligence having fun. So I have yellow. I have blue and I have I don't want yellow again. So let's see, maybe even want. If you go here, you're all your colors are gonna be stored. Um, maybe I want this trick ways that I pulled out before. That's kind of fun. Okay, so now we want to swap out this background image for something different. So we have creativity is intelligence and having fun again. I'm thinking we might want to do something like this instead. But maybe we want to switch it out this color. So layer new, solid. Let's pick something from this actual that's pick this pink from the picture itself and then see if that could make something pretty cool. That's interesting. That's going to fund. It's a little intense for what I want. Oh, that's nicer. So scream. So go through here, see what you are like in I like that. But I would like it. So if you click on this solid, say it's just too saturated for you. You can say solid settings up here, and then you can adjust it, so maybe we want to pull it Well, it's somewhere in between see, I want to compensate with that. I think something like that. Let's try that. See how we like it. The great thing is you can always go back and change it. I think it's a little too distracting. I think I will just pull it back. So it's more of a texture and not really an image. And I think I'm happy there. No, I think I like that bold yellow. So going with my gut here. So at some point, you have to call it done and just move on and say, Client, do you like this? So you're my clients. Do you like it? Leave comments, asking questions? But I think I'm gonna say or good here. And we're gonna move on Teoh nesting compositions and animating this and and the real fun part. So see in the next video 7. Masking using the Stroke Effect / Prepping your text: So today we're starting on our first animation, and we're going to be doing a sort of like a right on effect. We are going to be using masts for this. First of all, I just want to show you one thing we're gonna be working around. So the particular font we chose, um the style is from very thick to thin. So here you can see this is a very thick stroke, and this is a very thin stroke. So the effect that I want to show you today actually doesn't do very well with those kind of things. So in order to make this really seamless and pretty, we're gonna have to take this into illustrator and break up this text. So if you pull open, Illustrator, I already put the text in here, made it the same font, um, and changed it toe white as well. We're going to open up right here. The layers panel make a new layer. So what I want to do is select this here, copy it and select another layer and paste in place and on a PC. That is control shift V. So now you can see we have two of the same. And if I took this, you'll see we have double. Okay, so we're just gonna lock the one below, because that one is going to be to a reference back to and grab more duplicates from. So we're gonna work on layer two and we're just going to grab the little curly cues of this c and break that up on two separate layers. So, first and foremost, we want to go up to object and expand, So press OK. And now, if you use you're directs electoral, you'll see Now you have all these points. So if we zoom in here, I'm gonna use this tool here the direct selection tool, right? And I'm gonna copy and paste another one just for now up here so I can start breaking up the sea into different, different parts. So what you'll see is I'm actually going to start deleting points until I get just the sea on its own. And so we'll leave that as it iss and then take this one again. Control cocky, paste it. Pull this up here and now I want to just have the curlicue. So now that's so now these air deleted. So now if I was to take this and place it back, we have that full text again. Right? So now I'm gonna copy this a copy, and I'm going to delete just gonna continue to leading until I have three parts that I need to overlap. So now what I'm going to Dio is actually add another shape in here sometimes. Yeah. Switch up the tour. Okay. So what we want is is this here This this curve from here to here? So what I'm gonna do is make a another shape here and all color. They're different colors. You could see what I'm doing. But I'm gonna take that and that and I'm going over to here to what's called the Pathfinder , and I am going to divide these. So now. So now I have that curve, and then the rest is junk, and I can turn this back toe white. Okay, delete all this. So now I have We can clean this up a bit, but I have this this part here that's a curlicue, right? And then I'm going to get this part here. So what I want to do is say, probably from like here. Here. Okay, so we want to take those two and do Pathfinder again. You can get a little confusing at this point, but you just want it delete whatever you don't need. So right now we're needing this or not needing this, and then here we go. We can clean this up a bit now to get exactly the path that we want this shape to be, and then you can see this. Probably needs to move up to match. Mm. You may have to maybe expand this one up a bit. No, I'd say that's probably good enough. So you have your see your curlicue and that back to your layers. Here, this is going to be this is going to be see to underscore one. And then let's duplicate that three times by pulling down to this little icon here, which is creating new layer. This is going to be he duplicate too on and see duplicate three. Because they're going in order. 123 So let's turn off these and just see see one. Okay, so in this layer, C is going to be here. Si two. Is this curlicue? It is going to be here. And C three is this curlicue and it's going to be here. Okay, so we go down to see one. We don't need the curlicues on here, and we don't need any of that. See to you don't need any of this anymore any of this or that. And c three, you only need that last curlicue. So you don't need that. Nor do you need this. So now if you put thes three on together, you have what makes a c just close up any gaps, go in and do any kind of extra clean up. You may need to dio get it all lined up correctly, and there you go. So now you'll be able Teoh animate the stroke on this particular element seamlessly. So let's turn those off. Turned back on our original layer, Unlock it here and now we have You know what? Let's go up here and expand all this so that our bass player is always expended. Um, here to you, Congar. Oh, Teoh Object on group. So now when you're selecting it, you're just selecting each portion. So let's let's do our I'm gonna copy it. I'm gonna make a new layer and I'm gonna do control shift to be and copy it right in place . So here we've got this are right. We're going to do two layers here are one, and then duplicate that and rename it and rename it are too. Okay, so are one is going to be just the thick part, and our two is going to be just the thin part. So there's our go back to our original layer. Let's do E just in case. Poppy, you layer copy in place. Hide it. Name this. You won duplicate this to just the thick part. Okay. We're gonna leave the A. We're definitely going to do the tea. Copy that, You layer taste. Okay, so I just spend this all up so you don't have to watch me delete each point here, but, um, you'll see that everything that's overlapping, we're just creating a separate layer. Nothing is overlapping in our text anymore. So there we have the t done and we're going on toe. Why? Just making sure that everything is on its own layer and make sure that you are saving throughout this 8. Masking using the Stroke / Effect Animating our text 1: Okay, so here we go. After a good amount of time, we've broken up all of these into their own parts. So we're going to go back into after effects, and we're going to import that. So hit command, I or control I we're gonna import it as a composition and retaining layer sizes, and you'll see why in a second. So when you click on all this, each element in here now has a bounding box that matches very closely that element. It just makes things nicer. Niedere. But here we go. Now we have everything on their own layer. It's going to match our animation. Okay, so now that everything's imported, we can start with animating with our masks. So we want to actually go in order here. We want to start with this curly cute, then go to that curlicue, then go to the sea. So I'm just gonna turn off all of this so we can concentrate on one thing at a time. Um, so you'll go to your effects panel and you'll grab and you'll brought the stroke. Effect generates stroke. You can also click on your layer goto effect go to effect, generate stroke so the whole point of this videos to learn to animate with masks, and this is one way where you will do so. So let's start by making a mask. Let's isolate just what we're working on here, which is this curly Q part. And we're going Teoh making mask that matches the path of this curlicue. So now if you go down here to toggle switches and modes, I just want to dress something really quickly. If you click this button continuously, Rast arise should always just start your project here. So that'll keep all these lines as crisp as possible. So that's that. Let's let's also just so I want to show you what we're doing right away, and then I'll go through and do all of this and probably speed through that. So do you do your mask here. You want to go back up to stroke? You want to say mask one or all masks? Um, in this case, there is only one mask you want to do, reveal original image and why you want to do this right away from the beginning is you can see that are actual object is much thicker. So this brush size needs to go up to match. So what we're gonna do is we're going Teoh, Um, make sure that layers selected and you're going to set your first key frame. So to do so, you you press the stop watch, and that enables key framing. Now, when you have your label select, when you have your layer selected, you compress the letter you and now you can see that key frame. So this is the beginning of your animation. If you go to end again and you type in zero now, you will see that that is going t right on that effect. So that's perfect. That's exactly what we want. So let's hide that. And let's go to the next curly Q here and do it again. Do you are mask? Make sure you're on the right layer. Come up. Doesn't need to be exact. And then again, you can go here. You can actually just copy this and paste it press you. Now the thing is, you want them to be sequential, so you know this one should come after the other. So So it's good enough for now. We're definitely gonna have to clean this up, so that's not too bad. Especially when we select all the key frames. Go to the very last key frame press Ault or I believe, option on the Mac and you pull that down now you're compressing or key frames. So now let's see how this looks when it's a bit faster. Will definitely come in and clean this up later. But I just want to see Yeah, it's not bad. Maybe a little less. Pull this guy out a little bit more. Okay, so that's OK for now. It's a little choppy, but we'll work with it. Okay, so now let's bring on the sea. Okay, So let's do our last portion of our C, which is actually going to come up like this, wrap around and back down, because, remember, it's attached to that. We're going to go here, corrupt the stroke and paste it again and see press you to bring over key frames and see what it looks like. Now, here you can adjust your mask a little bit so that you're not losing that edge. Let's see what it looks like. Okay, so now what I'd like to do is right click and doing ease out here and doing ease in here. So key frame assistant he is, and so that we're kind of starting up, ramping up and slowing down, ramping down. So this will give you a cleaner animation, something a little bit more fluid. So there's your first see, not too shabby. Let's move on to the next letter, which is are So let's do our one and then are too. So, basically, that's how you do the masking and you just continue on. So I'm going to do one more here for you and then fast forward it and you will see I'm gonna coffee that stroke. Taste it in there, you and you'll see there goes that. So then you just go in after you've done your quick masks and what you want to dio is decide. Maybe this one needs to have a thicker brush size to cover it all, you know, because that was so thick. And then if you hold down control and you you click this, you could bring it back to a regular key frame instead of and in another video will have to go through using these, But But for right now, let's just keep it like that. And then our were, you know, And then remember when you're making your mass always go in the direction that your text is gonna go. So I just pasted that same thing. You go, but see this one. It's it's hitting the you'll see. It's hitting the tip before it curves around. That's because the brush sizes too big because this one's much smaller. And that's why we did all the breaking apart to begin with, so that when we're transitioning from something really thick, we can also do really pin. So let's see how that looks. And maybe on that right one, we don't want as much not too shabby. Let's see how this looks. Yeah, we'll have to speed all of this up just fine. Looks good. Moving on. Here's E so we're going to be doing actually a small part first. What secrets? He We're going to be doing the smoke part. The small part first, So are our mouse goes like this and then our mass goes like this on the next one. So here, I'm gonna zoom this upper all quick. You don't have to watch me do this, - okay ? So we are back. I have masked all of these individual layers and you can see it's going really slow right now. It doesn't look great, but this is showing you each little part is masked out. And when we make this fast look pretty good. So we're going to go into seen one. We're into pool in that composition, That text on layers composition here, and go scrub over and you'll be able to see it. Um, let's just do this for now. Go on. You're going remote here. Go to difference. So now you'll be able to see momentarily where your actual animation is, so we can line this up now. So there we go. So really quick here you are going to go to time. So right, click. Go to time and enable timely mapping. And so what, this is, is that's that's not depends about seven seconds here, but key frame right there. Okay. And so we want this to end Max. Two seconds. I'm thinking so drag that key frame over. And essentially what you're doing is you're taking that into the animation. You're squishing all this animation down. So now if I pull this over just to give us a preview. I don't care. You'll see. It's gonna go a lot faster and it's gonna look a lot better. And also select this first key friend. Go to key frame assistant and he's out. Select the second key frame. Go to key frame assistant and he's in. And I want to show you what that looks like. So I'm selecting both of these. I'm going to the graph editor. This is the velocity of that movement. So if I start pulling these little handles here now, we're going really slow really fast and then really slow again. So let me show you what that looks like. So this is looking pretty good. I say we add some motion to the background and would call seen one complete for now. So, Riel, real simple. Hit s. And that's going to bring up scale. And so we wanted to end. Let's go to three seconds and hit the stopwatch on scale and you're gonna start, Keep rings. So then let's make it kind of bigger here and see how that looks. We've got a little bit of movement that's good for now. We'll go in and adjust later, but I think that that is pretty OK. One last thing I want to talk about is, uh, drop shadows. They can be usually done overdone. But I want to show you this if you type and drop shadow here and you can actually drag that to your layer text on layers, not the pretty atrocious drop shadow. But if you go to your settings here and you type in 20 and something around there and then you really ramp up the softness on the and maybe even drop it down to 10 it is barely there . But look at the difference. It makes it makes your text just pop out just the tiniest bit. Stand away from your your background and that just little things like that where you know the default. It never really looks good, but when you're using white text, sometimes it's good toe to make it pop a little bit. So I'm going to say that Scene one is done. So that is how you use mask to create a right on effect hit save and let's move on 9. Masking using the Track Matte: Okay, So expect some time cleaning up this last animation and to just give you of you, uh, how smooth, conveniently get on. And then also, I rearranged a few little things, so I just want to show you really quick before we move on. So as you can see, it's much smoother than it was before And couple things to keep in mind here. All of your key frames here are the same length. So everything ends up being really smooth and then also the dots over the eyes and the crosses and the teas are coming at the end because that's how you know anyone would right if they were spilling out and cursed. If you go back and you, you do that at the very end so you can see it going pretty slow here. Then we did the same thing. Same thing we had in the last video where you have your time remapping enabled so that it goes a little faster and a little more fluid so that animation is done. It looks much better. And I'm happy with it. Happy to move on to seeing too. We're going to do the same thing We did in the last video where we actually break this up. So, copy paste. Now you have to delete one word and then you have just the one and delete the other word and then you have them on separate layers. So there you go, clicking over here you can turn on your your title safe gives you a little something to you . Make sure your your text is kind of falling in line with what standard? In case you were doing broadcast since you could come center everything up like that have been turned that off so we can just see what we have. So next on the list, we are going to be masking with track mats and track matte is right here. If you can't see it, it's because you have toggle switches and modes clicked to the other one. Here it is. So if you go down here and you click it again, you have track mats again. Okay, so now that we have are two words on separate layers were going to say layer new solid, and we're going to make sure that this is truly black by looking at the code here, and it's all zero. So yes, it iss press. Okay, Now you have a brand new solid. That's completely block. I'm going to pull it up here to the top. Come over here, selected coffee, paste it and pull it over here to the bottom. So now you have essentially what is going to be your mask. So if it's black, it means that it is hiding and white is revealing. So right now we are going Teoh, select both of these right click and hit pre composed. So this is what's called nesting in other applications in after effects that's called pre composing or pre comp. So we're going to call this a mask one. So if you were to go and double click on Mask, one brings you into that composition. So if you click back over, you can see you have now a nested composition composition within a composition. So if you go over here, click on track matte and click Alphen burdon mask. You can see it will disappear. Your text will disappear and why that is so here you have your track, matte right, and you'll see once you said it. Teoh either Alfa mask reveal. See So those are opposites or, um, or Alfa inverted. So the actual mask it's turned off aftereffects will do this automatically for you because it's using that mask as information, Teoh hide things behind either black hide white reveal Unless you inverted here and then that is inverted. You can also use Thies to loom amat or Lumet inverted. That's for if you have graze in your mask and that's something specific we're not getting into today I can turn it on and you can see actually work for our purposes because we are using white and black with no variations of great in between. So so we have our mask and now we're going to do something very simple. We're going to go to one second or roughly thereof, so select both layers hippie. That brings up position and you're going to set your first key friend. So you set the stop watch, which means you have enabled key franks and then going off here. And I'm going to set another key Frank, by just making a movement. So I'm gonna pull this down until it's hidden, and I'm gonna pull this up until it's hidden. Now, you may be wondering. Well, why does intelligence go away? But but is doesn't That's because we have one mask. So we're going to see a copy paste and do the same thing with IHS. We're going to go down here and set a track matte for mask one layer three. So that will look like this. So now it's gone, and now you have your first mask animation using track nuts. So to clean these up a bit, we're gonna select both of these and he's out and have this season. And you can do that by just selecting and right clicking, going to key frame assistant, and you can pick whatever you like there. You can also do this if you prefer select everything key frame assistant and Easy East. So let's pull over your work area, pull it down and you can see that it's it's okay. It's still bumping pretty hard. It's not very elegant, so I'm gonna say that there, but you want to take your animations from learning to professional. This is what you need to dio select everything go into your graph editor. So here what I would like it to do is coming pretty fast and slow down at the end. What I'm going to do is click and drag. So I'm selecting both of these parameters at the same time dragging the handle over. And now you can see that our animation is ramping up pretty pretty fast. And then it's going to slow, slow, slow down the very end. We're probably gonna end up actually pulling this key for him out and really exaggerating this out. We can do it now. If we'd like and see how that looks see, you can see that it's going to slow down pretty dramatically, But let's see how this looks first. So that's looking much better. Click out of her grass editor, and I would say, Cool these out until you're getting emotion. That's really slow at the end. That's looking much better. In my opinion, I would even try exaggerating that a bit more, selecting them all. Let's go back into the graph editor. I want exaggerate this even more so What I'm gonna do is select the first key frame here. Pull this out so it really comes and fast really slows down. So let's see what that looks like. Another thing you can do is go back over here to toggle switches and then, um, selector to text layers in, turn on and turn on your motion blur. And you won't see it here until you enable it in the composition itself. Okay, so the next thing we want to do is and meet the background. So we're going to go to three seconds here, and we're going to select the background hits scale and and seen one we were scaling up. So now we're going to scale down. So what, three seconds? We're going to enable keep framing on scale, go to the beginning of our composition and actually just bumped this and see how this looks beside. If you like it, I'm going to select both of these, and I'm going to say key frame assistant Eazy e's just so it's not such a hard open. And I'm thinking also, that's a little too extreme. So here we go, from from 1 36 to 100. So I'm thinking maybe we want to do like 1 20 Let's try it. I just want some subtle maybe even less 1 15 3 that we just want some subtle movement. We don't want it to distract from the text itself. That's great. I think we picked the right picture in the background here because intelligence makes me think of brains. And even though these air trees, it looks like, um, a little neural network back there. All right, so I'm gonna call this one done, and we are moving on to animating a scene three. 10. Masking using the pen tool: Okay, so we're moving on here to animating scene three. Just a couple little things. I want to clean this up just a little bit. I'm going to create a folder and label it com. Um, and I am going to add my scenes in here. My bask in here, um, and my text here. Let's see, when I go into cops, I want to make another folder. Underscore three com. So these are consular within camps. Here we go. And then these three are our main pumps, so it just keeps it a little bit cleaner. I also usually like to create a folder called Assets. And then I'll put my images in there, and sometimes they even put my solids and there to just kind of keep things clean. So here's the text. All these illustrator files that we broke up, that would also be an asset. Now you're a little bit cleaner, and there you go. Okay. So we're going to be masking in a different way today. Um, we are going to have this animation, um, be in its own pre cop. So let's do that. First, we're going to go to roughly one second here we're going to hit P for position, set our key frame, go to zero, and our inauguration. Go to the beginning of the timeline and we're actually going to pull this down under under fund here. Um, fun is going to be what's masked so you can see right here at the U if they won't quite clear it. So let's do this. Let's have it go all the way down here to the bottom of the frame and will right click and again do Eazy e's. That's fine. So that's going to be our animation. Call your workspace down so you can kind of loop that and see how it iss Okay, Um, and then real quick, you know the drill. Go into the graph editor and give that a little bit more of a slowdown. Okay, so now we are actually going to go to having and right click press pre composed. So now I'm going to write pre comp underscore texts. Underscore happy. So this tells me this is a pre comp. It's part of my text package, and it's this is actually what it says. That's something I used to keep things clean and easy when you have 15 different text layers. So now this is now within its own pre composition. So I wanna show you something really quick here. If I was to put a mask over this now, it's only going to show it in that mass. So that's what we're doing. Delete that mask. You don't have to do that. Um, put having down here. We're going to actually be on having. Okay? And what we're doing is we're masking out this so that it's it's just showing above the fun . So I'm going to start here, and I'm going to be on our on our text having pre cop. But we're going to follow the line of we're going to follow the line of fun. So Okay, we're speeding up through here, so you have to watch me click each little dot Now, I'm gonna do this pretty quickly. You're going to see it's not exact. I would go through and do a clean polish is you know, if I like it. Ah, lot of times when you're animating your kind of experimenting, seeing if you like something to begin with and then yeah, I like it. Let me go on a polish it in another round. So I like to do things a little rougher. Knishes auf something very rough. And there you go now, having has disappeared. But when it comes into that mask area going to reappear gonna turn off having for a second . I think I'm going to do something just fairly simple. An enemy, the position. Just start at one. It's a position there and then go back to the beginning of the frame. Right. Click on both of those and to easy use. Um, go into the graph editor here. Great. Something simple like that and then turn on having pre competent. Now it has Teoh funhouse toe land before having can come up because they're linked. So let's see how this looks. Pullout workspace. Not something simple. My suggestion to you would be to make this period go on it. Oh, right here. So what I'm going to do is, um, duplicate this. Duplicate the fund layer. I just have one of those on so I could see what I'm doing. Delete. So you have that extra period there, you can select everything, make sure your play heads on that last K frame and then you can move it over toe where it was or okay. So now that we have that period where it needs to be right, we're gonna going to go to fun here. We're gonna delete that extra period, but we're gonna put a space back in. So it's a lot. Everything lines back up and then turn on having and then you see everything lines back up . The last thing we're going to do is is take the animation for the period. We're gonna offset it a little bit. So it just lags after fun? I think so. That is seen three. 11. Putting it all together: Okay, so now that we have all three scenes completely animated, we're going to put them together. So we're gonna make a new pre comp, and I'm going to call this main, and it's going to be a 15 2nd duration. And there you go. And now pull and seen 12 and three into here. There you go. So seeing one's gonna come first seem to and seen three. So we're going to stack them like that. Pull these over. Okay, so we're gonna turn off these two scenes the 1st 2 and play it through. Actually, let's pull down this workspace, and I don't have to see all of it. So creativity. So we're gonna pull in, seem to about here, turn it on his intelligence, and then this will probably be around you. Okay, so you turned on all of your scenes, and now let's check that. So the only thing that I'm thinking when I'm looking at this is having fun in a sentence, The having should be either coming with the fund or before the fund. So let's just fix that, because right now it's not really easy to read. And remember, we talked about legibility. So we're going to have this pre comp actually parented to fun and watch what this does. I'm gonna drag it up So it's coming actually in with fun. So it's more like having fun, so that should be a bit better. Now when we go to me and again, let's play this out from the beginning. So there you go. Oh, and you know what we did? Forget to dio Hiss animate this in. So we'll hit scale and we're going to mimic creativity, which waas scaling up. So, seeing three, we're going to scale it up. So let's go to three seconds. How the bet and let's just scale it up to about 15. There you go. We want to make sure that that animation is pulling out all the way to the end. So we'll go to 10 seconds here, double click on your layer and then just pulled out out. So you're covering that duration of animation there. So there you go. You have a finished animation. Now you could even go ast's faras to create some transitions between these three scenes here using the skills that you've learned. So maybe we want to do one last thing to create a track. Matte. Very simple track. Matte. So pull in that black solid here. Right between, um, these two layers lost two layers here, and we're going Teoh, go over maybe Maybe just a few kind of a few frames here, Um, hippie position and set your key frame. Enable your key framing You move to the beginning of that layer here, and then you're going to just drag it over, select everything. Easy is okay. And so now this is going to be toggle switches here. Your track matte is going to be attached to this black solid. There you go. So something very simple, but you're using masks again. They may just pull down my workspace so that you can see, um, going to see that on the loop and check it out. There you go. That had something really different. Now, control, copy and paste that and bring it up above. Seen three. Pull it over in line with seen three and, um, hit you. You'll see that you have the exact same layer here. You're going to go to scene three here. You're going to enable another track matte, and you're going to do an Alfa Trackman. And so there you go. So you've used the things you've learned in terms of text can be reused So very simple but very effective. And you have a complete fool, Really polished animation. 12. Exporting your final animation: So congratulations. You have a fully animated video here, using three different kinds of masking techniques, took some time, took some effort. But you can really use thestreet techniques in any way, with shapes with layers, with text to mix and match and create just tons of fun. Different videos. Um, they're really versus techniques. And if you start looking at different commercials, you'll start seeing them over and over again. So congratulations. The last thing you have to do is export your final video. So what we're going to do here is go up to composition. We're going to add to Adobe Media Encoder. That brings up, um, a different program called Media Encoder. I really like this because it gives you a lot of presets. It's very easy to use. You can do batches. It's great. So choose here h 0.264 from this menu here, I chose YouTube 10 80 p HD. It has all the settings that we started our composition with to begin 1920 by 10 80 square pixels. Um, and also this P stands for progressive. You want to make sure that you're always using progressive unless a specific client tells you otherwise, um, we can get into the details in another video, but for here, P progressive is completely acceptable and preferred. So everything else is fine. Default works. Great. So we're going to go and give this a name. Give this a location to save too. So I gave it a name and a location to save two and then use press. Okay. And you press, uh, the screen button and it starts. Okay, so it's all done. If you click right here under output file, this will actually take you to the exact file that you have exported. So there is your animation complete, full, exported and ready to share with the world. I've so enjoyed teaching this class, and I hope you've learned a lot from it. Please feel free to ask questions or leave comments. You've done a lot of hard work to get to this point. So congratulations. And I can't wait to see your projects.